by B.W. Harold

Created on: May 20, 2009

Everyone wants to be famous. A fact no lesser truer than today. At a time when authority was questioned, tradition was rebutted, and love was an abstract concept. Edie Sedgwick set out to find her place in the world. She discovered the pop art world of Andy Warhol. Then became the closest thing to a love interest he ever had. Factory Girl is a bright, merry-go-round for the senses. The audience is introduced to a fragile puppet. Edie Sedgwick defined herself by her relationships. A quality that made her a 60's underground pop icon.

Known for her poise and glamor, Edie sparked artistic fury wherever she went. The most famous star of Andy Warhol's art films, she gave the stiff Warhol a sense of warmth and likability. Factory Girl follows Edie from her beginnings in art school to her time in a mental institution in Santa Barbara, California. Told as a flashback of sorts the audience is informed of her oppressive childhood and innocent thirst for love.

Deemed Warhol's Living Work of Art, she became the image of originality and femininity for America in 1960s. Her drug addiction and loyalty to Andy Warhol were her undoing. The movie itself is a wonderful art piece about the time. Actors are very organic in their performances, even Jimmy Fallon as the turn coat best friend.

Hayden Christensen's Dylan-like character is more James Dean like, but oozes sex appeal. Making him watchable and more like a fun house mirror image of the famous folk singer. Although the movie never admits Quinn to be a pseudonym for the 60's poet, it is obvious to the audience with whom Edie is involved. It's one of Christensen's more interesting parts.

The true gems of this movie are Sienna Miller (Edie) and Guy Pearce (Warhol). Their chemistry is almost eerie. Pearce almost wears Warhol as suit like some kind of science fiction creature. His voice, demeanor, and even presence seem to morph in this movie. Showing his true talent. Likewise, Miller is beautiful without being over done. Fragile without being waifish. And broken without being stereotypical of a stock character. Both are complex and masterfully presented.

The seedier details of Edie's background are handled delicately. Although an incestuous relationship with her father is alluded too, the audience never really has that confirmed for them. The only family dynamic represented in this film is the surrogate one Edie creates for herself. It also shows how quickly they turned on her when her addiction became unmanageable. Classic Warhol art and short films were recreated for the film. It is a window into the creative vibe of the movement that made Warhol king of the post-modern era.

The unrated DVD is graphic in an artistic way. Sex is raunchy, yet stylized. Pearce is not depicted as jerking off in an obvious matter, but the audience gets the point. Miller is presented nude as in an art class, never full on. Party scenes do tend to show wild sex, but from afar. The only real love scene is close up and more dance like than pornographic. Still those elements exclude it from the kid's section.

The homage to art films of the time is a charming quality. Scenes are sometimes shot in black and white to maintain the period feel. Pain staking detail went in to recreating Warhol's factory studio. Overt sexuality is displayed as it was at the time. It is not glossed over or shelved, but becomes an element of the story. The fact that Warhol would never give Edie a sexual relationship, adding to the conflict.

This movie isn't for people who prefer subtlies in their films. But is a good example of good film technique. How to tell a story while maintaining a style. Miller and Pearce create an off-kilter love story that holds its audience.

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